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Orchestre Philharmonique Du Luxembourg Wiener Singverein 2019 20:00 12.12.Grand Auditorium Jeudi / Donnerstag / Thursday Grands rendez-vous Orchestre Philharmonique du Luxembourg Wiener Singverein Gustavo Gimeno direction Johannes Prinz direction de chœur Maria Agresta soprano Daniela Barcellona mezzo-soprano René Barbera ténor Vitalij Kowaljow basse En mémoire de Mariss Jansons (1943–2019) Ce concert, enregistré par 100,7, sera retransmis en direct, puis le 11 mars 2020. Mariss Jansons (1943–2019) Mariss Jansons a été et demeure pour tout mélomane une auto- rité musicale. Ses interprétations nous ont durablement influencés et font référence, qu’il s’agisse de Beethoven, Mahler, Bruckner, du répertoire français ou russe. Il n’a pas agi en fonction des courants du moment mais a trouvé une approche très personnelle des œuvres, basée sur la plus solide connaissance de la partition et de l’intention des compositeurs. Cela le distinguait aussi en tant qu’être humain: il était extrêmement curieux, il n’y avait rien qu’il ne veuille comprendre et connaître, épris de justice et, avant tout, habité d’une foi inébranlable sur le fait que le bien allait et devait s’imposer. Humaniste dans tous les sens du terme! À la Philharmonie Luxembourg, nous avons eu le bonheur de l’entendre presque chaque saison, avec le Symphonieorchester des Bayerischen Rundfunks ou le Concertgebouworkest. La version concertante de La Dame de pique de Piotr Tchaïkovski en 2014 a constitué un moment à part. Notre directeur musical Gustavo Gimeno a eu le privilège de travailler en étroite collaboration avec lui et rend dans son texte le dernier hommage à son mentor. Nous nous inclinons dans le plus grand respect. 2 Mariss Jansons photo: Peter Meisel Mariss Jansons photo: Peter Meisel Mariss Jansons war und ist wohl für jeden Musikliebhaber eine musikalische Autorität. Seine Interpretationen haben uns nach- haltig beeinflusst und setzen Maßstäbe, gleichgültig ob er Beethoven, Mahler oder Bruckner, französisches oder russisches Repertoire dirigiert hat. Er hat sich nicht an Zeitströmungen orientiert, sondern seinen ganz persönlichen Zugang zu den Werken gefunden, basierend auf profundester Kenntnis der Partitur und dem bestmöglichen Wissen um die Intention des Komponisten. Das zeichnete ihn auch als Menschen aus: er war ungemein wissbegierig, es gab nichts, das er nicht verstehen und erkennen wollte, mit einem starken Sinn für Gerechtigkeit und vor allem dem unerschütterlichen Glauben, dass das Gute sich durchsetzen wird und muss. Humanist durch und durch! In der Philharmonie Luxembourg durften wir uns glücklich schätzen, ihn fast jede Saison entweder mit dem Symphonieor- chester des Bayerischen Rundfunks oder dem Concertgebouworkest erleben zu dürfen. Ein besonderer Moment war die konzertante Aufführung von Peter TschaikowskysPique Dame 2014. Unser Chefdirigent Gustavo Gimeno hatte das Privileg, mit ihm eng zusammenarbeiten zu dürfen und erweist in seinem Text seinem Mentor die letzte Ehre. Wir verneigen uns in tiefem Respekt. 5 «Do you want a comfortable life or to be a musician?» Gustavo Gimeno «So, tell me Gustavo! How is the orchestra? And how is the Schumann? Do they like to work? And how is the discipline? And then, tell me, I want to know…» This is the way our last conversation started when we saw each other for the last time at the Musikverein right after an acoustic rehearsal with his Symphonieorchester des Bayerischen Rundfunks. Having a standard conversation with Mariss Jansons was often impossible… He would ask lots of questions with maximum passion and curiosity, and sometimes that was even frustrating. It was me who actually wanted to ask him so many things and wanted to learn from him, but I often felt shy next to him, and in any case, he would always «shoot» first… And then you had little chance to change the direction of the conversation. But I loved seeing him in action, whether rehearsing, conducting a concert, meeting a soloist or simply having a conversation with someone, it was always fascinating! He always had very peculiar and very intelligent comments, questions and remarks. I am convinced that his interesting personality, so curious, humble, passionate and determined, made of him the artist who we know today, an artist in continuous development who would not only master the Russian classics but as well excel performing Mahler in Amsterdam, Bruckner in Vienna or Strauss in Munich. As a kid, even before I started studying music, I remember watching a concert (at that time in Spain it was rare to get a concert on TV by a foreign orchestra) which my father video recorded, and reading on screen «Leningrad Philharmonic», 6 Mariss Jansons photo: Marco Borggreve «Mariss Jansons», «The Rite of Spring». As often as a youngster, you engrave some names and situations in your memory and that was the case. I memorised the name of Mariss Jansons. I found his presence, his expression and his conducting absolutely magnetic. I loved looking at him. The last thing I (or my father) could imagine is that this man I saw on the screen would have such an impact and influence in my life. It was only 10 years later when I had the incredible chance to collaborate with the Concertgebouworkest for the first time in my life while I was studying in Amsterdam. I could not have 7 been happier, a dream came true, to perform Shostakovich’s Symphony No. 7 with Mariss Jansons conducting. I was going to meet him in person! I couldn’t take my eyes off him… His con- ducting was so elegant, his rehearsing so organised and detailed, his manners so extremely polite when addressing the players… But then the concert came, and I simply couldn’t believe that it was the same person. He wasn’t exactly the same conductor I saw in the rehearsals… He irradiated such energy and passion, that even being far away from him I felt almost afraid… Including feeling afraid of ruining how beautifully the orchestra was playing and somehow afraid of disappointing this man whom I admired so much (even if he obviously hadn’t noticed me). The emotional content of his presence transmitted a very special energy, which I had never experienced before, so I suddenly was confronted with emotions which I had to learn how to deal with… That was one of the biggest qualities of Jansons: paradoxically, he controlled details in rehearsals to the extreme… when a horn player would be breathing exactly, how many centimetres would the door be open for the off-stage banda or which sticks would the bass drum player use… In the concert he apparently seemed to forget all those detailed comments and convert them into the deepest emotions. Life brought us even closer when I became a member of the Concertgebouworkest and he my Chief-Conductor. Having seen him in so many rehearsals and concerts represented some of the best music lessons I ever had and some of the most emotional moments of my life. It was very impressive to see day after day how interesting his rehearsals were and how it wouldn’t really matter where we were performing. He would never miss the chance to enjoy making music, to motivate and inspire everyone around him. And I realised my life was better with him around, demanding too (!), but wonderfully up-lifting. 8 He wouldn’t always be initially open and approachable, but once he had opened himself to you, you were «family» to him. One of the greatest gifts of my life was to work close to him as an assistant conductor, so I could feel his generosity and support. And to realise even more strongly how important music was for him, it was his life, his God… A very typical Mariss sentence, defining his personality very well, was: «What do you want: to have a comfortable life or to be a musician?» He was a great human being, with an incredible inner world, including insecurities, doubts and at times fragility… and he was not afraid of showing them or even to laugh about himself. All that made him even greater and more fascinating as an artist and as person. There are and there will be other great conductors, but he was more than that, he was genuinely loved by everyone. Loved by musicians, orchestras, colleagues and audiences all over the world. His honesty as musician would always moved people in a very unique and profound way. I am sure he will be at the same time both very much missed and a great example and reference for generations to come. Dearest Mariss, Rest in peace Published on 04.12.2019 in the magazine Van 9 Franz Schubert (1797–1828) Symphonie N° 8 h-moll (si mineur) D 759 «Unvollendete» / «Inachevée» (1822) Allegro moderato Andante con moto 26’ — Gioacchino Rossini (1792–1868) Stabat Mater (1842) 1. Stabat Mater dolorosa (Verse 1) 2. Cujus animam (Verses 2–4) 3. Quis est homo (Verses 5–6) 4. Pro peccatis (Verses 7–8) 5. Eja, Mater (Verses 9–10) 6. Sancta Mater (Verses 11–15) 7. Fac ut portem (Verses 16–17) 8. Inflammatus (Verses 18–19) 9. Quando corpus morietur (Verse 20) 10. In sempiterna saecula. Amen 61’ D’Knipserten Martin Fengel Rossini–Schubert, « mes rêves inachevés » Olivier Lexa Dans ma pipe je brûlerai mes souvenirs d’enfance, Mes rêves inachevés, mes restes d’espérance. Jacques Brel Vienne, 1822. Schubert entame la composition de sa Symphonie en si mineur, dite « Inachevée » tandis que Rossini rejoint la capitale autrichienne où on l’attend depuis le succès de la première représentation d’un de ses opéras dans la ville, six ans auparavant. Schubert a vingt-cinq ans à peine, Rossini trente. Les deux hommes ne se rencontrent pas. Schubert connaît et admire la musique de l’auteur du Barbier de Séville, dont on décèle l’influence directe dans le finalebuffo de la Troisième Symphonie, dans la Sixième Symphonie et dans les deux ouvertures « à l’italienne » D 590 et 591.
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